An open-hearted humanist sans-serif. Playful and friendly. Faible is everybody’s darling. You cannot not like this good-natured humanist typeface. Sure, it’s a typeface for serious work—but all serious work is better when you put a smile on your face and a whistle on your lips. The typeface itself isn’t rooted in calligraphy, but there are quite some details in Faible that reference handwriting and add a friendly, humanist facet to its appearance. Take the bowls of B, P, and R: they are merrily bulged, like balloons about to take off. The curved leg of the R adds to this joyful mood. Faible’s italics are rendered playfully, too: they’re not merely sloped Roman styles. Rather, they were designed independently with an internal dynamic that sets them apart on the page. With its trademark glyphs, the swooshin’ K and k, and its friendly details, Faible will radiate optimism in display sizes, titles, and headlines. That makes it a great choice for book covers, posters, editorial design, branding, corporate design, advertising, and packaging. Nontheless, it’s carefully spaced and equipped with plenty OpenType features—a reliable tool for short texts and body copy, too. The font family consists of six weights (ranging from Thin to Black), each with its corresponding italic style. Faible’s glyph set contains more than 600 characters, allowing you to enhance your layouts with ligatures, different sets of figures, case sensitive forms, arrows, and other necessities for the ambitious typographer. Faible is the typeface that puts “fun” back into “functional”.

An authentic script from the tip of the ball point pen. This hasn’t been seen yet: A typeface which truly looks as if it were handwritten. Calligraphy is, actually, the art of fine writing. And actually, written scripts as typeface for the computer are 100% nonsense. And yet, an obvious thought: Create a typeface which truly derives from everyday handwriting. And since we, if we write at all, utilize practically only a ball point pen anymore, then a modern cursive writing form must look like just that. As a counterpart to the artistic ”handwritings“ which have long been available as typeface, the thought of digitalizing a truly ”ugly“ handwriting is appealing. After all, time and again there is the need for a text to look ”handwritten“. Biró Script is written freehand with a ball point pen. Finally a truly individual script! Biró Script includes more than 300 authentic ligatures in addition to the customary alphabet. By the way, the most convincing effect is obtained with a font size of about 18 to 22 points, at which the thickness of the stroke is now about the same as that of a real ball point pen. There's a difference between the anglo-american forms of some characters (esp. the numerals 1 and 7, but also capitals I and F) and how it's written in the rest of the world. For those of us who aren’t used to the world-wide usual forms, Biró Script includes a US version with the appropriate characters.

The name of this font brings back memories of an old fried chicken restaurant in Willow Springs Illinois circa 1960’s and 1970’s, my family would all get in the car and take a long drive down to an old country road Illionis Rt 171 through a forest preserve where we’d come upon the old Willowbrook motel with a bar and restaurant next door. The restaurant was called Kegal’s, when you entered the building you had to walk through the smoky bar first to get to the restaurant, I can still see the hard wood floors with all the finish worn off from decades of foot traffic. Up until the mid 1960’s Kegal’s used to raise their own chickens behind the restaurant, back then fried chicken in the Midwest was either coated in flour or bread crumbs, Kegal’s was covered in a beautiful layer of golden bread crumbs. Before your meal arrived they’d bring a basket of dinner rolls along with crackers, bread sticks and country butter, on the side they’d serve coleslaw with a vinegar sauce, which is very common in the Midwest, the first time you try it your face puckers up like you just sucked on a lemon but you get used it over time. After waiting for what seemed like forever to a child the waitress comes out of the kitchen with a huge tray of that golden deliciousness and your mouth begins to water, in her other hand was another tray filled to overflowing with crinkle cut french fries all made by hand, I’d eat a hole handful of those french fries first then take a bite of that tender juicy farm raised chicken. Today a fine Italian restaurant occupies the old Kegal’s building and the motel is long gone, only my fond memories remain. Fast forward to 2020 and FontMesa has just made some Fried Chicken as an eight weight type font family with alternates. With the Fried Chicken slab serif font family we’ve broken some rules by removing a few of the slabs on certain letters for a unique homemade look. Fried Chicken is perfect for your next product label, t-shirt design, logo, headline or cookbook cover. Treat yourself to some good ol’ Fried Chicken today.

Rabenau (formerly Lucinde), the distinctly warm and legible type family For 30 years the graphic designer Axel Bertram worked at creating his typefaces: He developed complete new alphabets for magazines and typewriters as well as for the constant demand for typefaces for use by commercial artists. He has developed wall charts the size of advertising posters as teaching aids for training commercial and graphic artists to write in a clean, classic cursive script. In the eighties he used the American Chyron computer to design a screen font for television. In the mid-nineties he discovered for himself the fabulous possibilities offered by the Fontographer font software program and explored them playfully. From the results of these experiments, Axel Bertram selected a design for further development. From 2003 onwards the calligrapher and type designer Andreas Frohloff collaborated with him on the further development and production of the 16 fonts of the Rabenau™ typeface family.The Rabenau font was inspired by many factors: From the fonts used as book covers to typewriter fonts and even printed material from England dating from the beginning of the nineteenth century (e.g. those used by the skilled printer William Bulmer), Rabenau's relatively high contrast is offset by some organic tapers, subtley rounded bracketed serifs, and a fairly generous x-height. This makes for a typeface that looks especially good in print. Its broad repertoire of weights and styles - Condensed, Poster, and Shadow - give it added versatility, and make it ideal for setting both display and text in the same typeface. Throughout the heavier weights, the contrast is maintained. The Poster Italic sparkles, and will make a fine display type for dynamic headlines, or logotypes. This family of sixteen fonts works beautifully together. All Rabenau font styles have a large set of ligatures and thus cover typical letter combinations in many European languages. Besides the standard ligatures for ff, fi and fl, letter connections are also available for tt, th and fj or ffi, ffl and ffk. The range is completed with lovely arched transitions for the characters st, ck or ct. The latter gives the font that certain something, both in continuous text and above all in headlines.

Body graphic project at Behance Body is a type family designed for Zetafonts by Cosimo Lorenzo Pancini with Andrea Tartarelli. Conceived as a contemporary alternative to modernist superfamilies like Univers or Helvetica, Body tries to maximize text readability while providing a wide range of options for the designer. It comes in two variants (Body Text and Body Grotesque), each in four widths and four weights: regular and bold for basic typesetting, light and extrabold for display use. Body Grotesque applies to the sans serif modernist skeleton little imperfections and quirks inspired by our research in early 20th century type specimens. Curves are slightly more calligraphic and a light inverse contrast is applied to bold weights, giving the typeface a slight vintage appearance in display use. Body Text, on the contrary, challenges the modernist aesthetics maximizing horizontal lines and using open terminals for letters like “s” and “a” that appear normally dark in modernist grotesques. For both variants, the normal width family is slightly condensed in an effort to maximize space usage; the Slim width is provided for extremely dense texts or side notes while the Fit width is optimized for display usage as in logos, headings or titles. The Large width manages to look elegant in its light weight while becoming a valid heading or subtitle font in its extrabold weights. All the 64 fonts in the Body superfamily include a complete latin extended character set with small caps for over 70 languages, Russian cyrillic, open type positional numbers, stylist sets and alternate forms.

Very few letter types with the context of grunge style fonts offer hierarchies to differentiate words in sentences or paragraphs. With Navaja I developed a font family that meets this need. This family is useful to organize the information into a hierarchy with an eroded look. Its central idea mixes grotesque, geometric and humanistic letter conventions. This way, Navaja is a grunge-sans with dense proportions to make graphic design with eroded character. Its main purpose appeared when one of my customers asked me for a t-shirt design for a fan club of an important football player. For this reason its starting point were stained and muddy letters characterizing the toughness and coldness of the sport. Over time their glyphs began to imitate the robustness of "wood type & Tuscan Type" widely used in posters in the late nineteenth century. Its purpose was strengthened in a family with 6 members that when mixed they produce mind catching contrast levels ideal for designing T-shirts, stickers, flyers, brochures, posters, billboards, cinema or TV. Therefore its variants are short up and down height X combined with different widths that by working together produce information that radiates outstanding apparently destroyed controlled violence. Navaja Dingbats consists of 52 illustrations useful for frames and textures. In that vein, the origin of each member comes from skeletons of Roman and Italic calligraphy. The low amount of contrast between thick and thin lines matching the contours apparently gnawed but strictly regulated by optical adjustments equating the sum between full and empty areas. Factors such as finishes, shapes and counter internal and external forms are meticulously planned although its scruffy look which strategic arrangements are offset to provide color typographical homogeneous. And in conclusion, I have plans to continue expanding the family with more complete versions in the future.

While Adelle is a slab serif typeface conceived by Veronika Burian and José Scaglione specifically for intensive editorial use, mainly in newspapers, magazines, and online, its personality and flexibility make it a true multipurpose typeface. Adelle’s superior screen rendering and cross-platform consistency has also made it one of our most popular webfonts. The intermediate weights deliver a neutral look when used in text sizes, providing the usual robustness expected in a newspaper font. The unobtrusive appearance, excellent texture, and slightly dark colour allow it to behave flawlessly in continuous text, even in the most unforgiving editorial applications. As it becomes larger in print, Adelle shows its personality through a series of measured particularities which make it easy to remember and identify. Its energetic character, so inherent to slab serif fonts, becomes evident when used for subheadings and headlines. A condensed series of seven weights with matching italics expand Adelle’s possibilities. This extension provides flexible solutions in situations where saving space is vital but losing legibility is not an option. The new condensed series shares the same personality, proportions, and skeleton of the Adelle family, creating an harmonious texture when combined. Be sure to check out the companion to Adelle, Adelle Sans, to complete the look of your design with the intended personality and flexibility. Awards – Third prize for Latin text typeface in the 2009 Granshan Type Design Competition – Won Gold for Original Typeface in the 2010 European Design Awards – Selected in the first Ukrainian typeface competition in 2010 – Exhibited at the Rutenia Calligraphy & Typography Festival (http://rutenia.org.ua/en/index_u.html) in Kyiv, 2010 – Selected in the 2011 Type Directors Club Tokyo Exhibition – Selected in Communication Arts 2011 Typography Annual – Selected in Yearbook of Type I, 2013 – Part of the exhibition «Call for Type» and subsequent book Neue Schriften (New Typefaces)

Eclectic FS Siena is a typeface with history, and not just in the sense of having its origins in classical Roman lettering. Fontsmith founder Jason Smith first committed it to tracing paper while still at college, instinctively redrawing letterforms based on Hermann Zapf’s Optima according to ‘what felt right’. When Krista Radoeva took up the challenge to edit and extend the typeface, she and Jason were determined to preserve its subtly nonconformist and eclectic spirit. Like a great dish, there are individual components throughout the character set that all add flavour, and need to be balanced in order to work together. The smooth connection of the ‘h’ ‘m’ ‘n’ and ‘r’ contrasts with the corners of the ‘b’ and ‘p’. The instantly recognisable double-storey ‘a’ – the starting point of the design – contrasts with the single-storey ‘g’ and the more cursive ‘y’. And only certain characters – ‘k’, ‘w’, ‘v’ and ‘x’ in the lowercase and ‘K’, ‘V’, ‘W’, ‘X’ and ‘Y’ in the caps – have curved strokes. Transitional FS Siena is a contrasted sans-serif typeface, blending classical elegance and modern simplicity. Its construction and proportions are descended from classical broad-nib calligraphy and humanist typefaces, with a high contrast between the thick and thin strokes. The angle of the contrast, though, is vertical, more in the character of pointed-nib calligraphy and modernist typefaces. This vertical stress helps to give FS Siena a strong, cultured presence on the page. Idiosyncratic italics The italics for FS Siena were developed by Krista to complement the roman upper and lower-case alphabets first drawn by Jason. Many of the letterforms are built differently to their roman counterparts: there’s a single-tier ‘a’, a looped ‘k’ and connections more towards the middle of stems, such as in the ‘m’, ‘n’ and ‘u’. These distinctions, along with generally much narrower forms than the roman, give the italics extra emphasis within body copy, where the two are side-by-side. In editorial, especially, the combination can be powerful. To cap it all… In his original draft of the typeface, Jason found inspiration in Roman square capitals of the kind most famously found on Trajan’s Column in Rome. In keeping with those ancient inscriptions, he intended the capitals of FS Siena to also work in all-upper-case text, in logotypes for luxury consumer brands and property developments, for example. A little added space between the upper-case letters lets the capitals maintain their poise in a caps-only setting, while still allowing them to work alongside the lower-case letterforms. The caps-only setting also triggers a feature called case punctuation, which adapts hyphens, brackets and other punctuation to complement the all-caps text.

The Adelle family continues its stylistic expansion with the release of Adelle Mono and Adelle Mono Flex by Veronika Burian and José Scaglione. Monospaced typefaces are the default choice for developers and programmers and are also an aesthetic choice for many designers and communicators. The Adelle Mono font family has two widths to serve both breeds and a variable font for the flexible spectrum in between. Monospaced typefaces are born of necessity rather than purely aesthetic values. Each glyph is constrained to a strict box, making the naturally smaller ones the same width as the naturally wider ones. While this serves the functional purpose of keeping text aligned in vertical and horizontal rows, it is completely unnatural in terms of readability. A monospaced ‘l, i’ are overblown compromises while ‘m, w’ become compressed mutations. The Adelle Mono family was therefore designed with both the developer and the aesthete in mind. Adelle Mono respects its necessary constraints while still being visually appealing and easily read. Activate it for use in Sublime, Swift, Terminal, or your IDE of choice and see how well it performs. Clarity will lead to less developer mistakes, and its aesthetic appeal will make your work enjoyable. Adelle Mono Flex is the proportional width version that works for any kind of normal text reading or a design intended to invoke “system or information aesthetics”. Opposite the demands of the monospace family, Flex is reader friendly and intended for branding, annual reports, paragraphs, UI, logos, posters, screens, tables, captions, and more. Employ the Mono version where monospace is needed and the Flex version where reading or coherence is priority. Adelle Mono’s experimental 20-style design explores the space between proportional and monospaced types. It boosts creativity and coherence by providing flexible options in the same family, including italics and the variable font format with an axis of weight and a spectrum axis between multi-width and monospaced characters. Combining Adelle Mono with either Adelle or Adelle Sans adds more layers and adaptability to your work.

Tiresias was designed for subtitling by Dr. John Gill from the Royal National Institute for the Blind (RNIB), in the United Kingdom. The Tiresias font is designed to have characters that are easy to distinguish from each other, especially important for the visually impaired. The following key factors were considered during the design process: character shapes, relative weight of character stokes, intercharacter spacing, and aspect ratios that affect the maximum size at which the type could be used. The benefits of the Tiresias font are greatest on lower resolution displays, such as televisions, train and airline information terminals, and low resolution displays on wireless communication and handheld devices. InfoFont is for printed instructions on public terminals where legibility is the primary consideration; these instructions are often read at a distance of 30 to 70 cm. Infofont is not designed for large quantities of text. The Tiresias LPfont is a large print typeface specifically designed for people with low vision. Large print publications should be designed to specifically help with reading problems, and should not just be an enlarged version of the ordinary print. The Tiresias LPfont family, made up of roman, italic, and bold weights, was designed to address and solve these issues. The RNIB developed PCfont for people with low vision to use on computer screens. It is designed for use at larger sizes only. PCfont includes delta hinting technology in the font to ensure pixel-perfect display at key sizes. Signfont is for fixed (not internally illuminated) signage. The recommended usage is white or yellow characters on a matt dark background. Note that the “Z” versions have slashed zeroes, and are identical in all other respects. These faces were developed together with Dr. John Gill of the National Institute of the Blind, Dr. Janet Silver; optometrist of Moorfields Eye Hospital, Chris Sharville of Laker Sharville Design Associates, and Peter O'Donnell; type consultant. Tiresias himself is a figure from Greek mythology, a blind prophet from Thebes.

Welcome to the world of Mexcellent, a tri-linear stripe typeface that is sure to add a touch of jubilation to your designs! Inspired by the custom font created for the iconic 1968 Mexico City Olympic Games, this font will transport you to a world of vibrant colors and striking patterns. With Mexcellent, you can experiment with layers to produce an endless array of captivating color effects. Let your imagination run wild as you explore the countless possibilities that this font has to offer. Whether you’re designing a poster, a flyer, or even a social media graphic, Mexcellent will make your message pop. The cool stripes and playful angles will add a touch of flair and panache to your creations, setting them apart from the rest. Your audience will be captivated by the unique and innovative style that you bring to the table. So what are you waiting for? Try Mexcellent today and discover the joyous and dynamic world of tri-linear stripe typography! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

“Hello My Love” is a font love story. Inspired by my own long and happy marriage of 35 years, it was created to celebrate love! A classic hand-lettered script with a modern and fresh feel, it fits beautifully with current designs and yet is sure to stand the test of time. Made with invitation designers in mind, the Hello My Love Pro script font includes a total of 1985 glyphs plus a BONUS FONT, Hello My Love Ornaments! It has 91 hand illustrations including frames, florals and design elements. As a result, you will be able to create a variety of designs to highlight your special project. It’s especially well-suited for invitations for branding weddings and other special occasions! And it supports 129 languages! The font is loaded with features: Stylistic and Contextual Alternates, Swash Caps, Standard and Discretionary Ligatures, Beginning Swashes for lower case letters, Cross-less t and f that can be combined with a flourished letter to avoid clashing plus 3 ampersands, small word art "and" & "No.", Roman Numerals, Ordinals and Fractions. This font was created to make designing easy. Need to convert upper case letters into Roman numerals throughout a guest list? Just turn on contextual alternates in Open Type capable programs and presto, the caps become Roman! Want a variety of letter choices? There are 215 stylistic alternate upper cases and 259 stylistic alternate lower cases as well as 69 ligatures to give you plenty of options. You can choose from swashes in 4 different styles and 3 different lengths resulting in unique beginning lower case letters. Works for Cutting Machines! No special software is required to use Hello My Love. All of my fonts have been specially coded for PUA (Private Use Area) so you can access all of the swashes and alternates using Character Map (PC) or Character Viewer (Mac) or with any number of apps including PopChar. If you would like to purchase PopChar at a special discount email me and I will send you the link. For Microsoft Word users, you can easily access the Stylistic and Contextual Alternates and the Roman Numerals through the Typography feature. (Microsoft Word 2010 and later) For more details about how to use my fonts, check out my video tutorials on my YouTube channel: https://www.youtube.com/user/Letteringartstudio/videos

Tavern is a super font family based on our Algerian Mesa design, with Tavern we've greatly expanded the usability by creating light and bold weights plus all new for 2020 with the introduction of extra bold and black weights Tavern is now a five weight family. The addition of the bold weight made it possible to go further with the design by adding open faced shadowed, outline and fill versions. Please note, the fill fonts are aligned to go with the open faced versions, they may work with the outline versions, however you will have to apply them one letter at a time. The Tavern Fill fonts may also be used a stand alone font, however, the spacing is much wider than the regular solid black weights of Tavern. In the old days of printing, fill fonts rarely lined up perfect with the open or outline font, this created a misprinted look that's much in style today. To create that misprinted look using two different colors, try layering the outline fonts offset over the top of the solid black versions. Next we come to the small caps and X versions, for a font that's mostly seen used in all caps we felt a small caps would come in handy. The X in Tavern X stands for higher X-height, we've taken our standard lowercase and raised it for greater visibility in small text and for signage where you want the look of a lowercase but it needs to be readable from the street. In August of 2016 I started the project of expanding this font into more weights after seeing the font in use where someone tried creating a bold version by adding a stroke fill around the letters. The result didn't look very good, the stroke fill also caused the shadow line to merge with the serifs on some letters. This lead me to experiment to see if a new bold weight was possible for this font and I'm pleased to say that it was. After the bold weight was finished I decided to type the regular and bold weights together in a first word thin second word bold combination, however the weight difference between the two wasn't enough contrast. This lead me to wonder if a lighter weight was possible for this font, as you can see yes it was, so now for the first time in the history of this old 1908 type design you can type a first word thin second word bold combination. So why the name change from Algerian to Tavern? Since the original font was designed in England by the Stephenson Blake type foundry I decided to give this font a name that reminded you of the country it came from, however, there were other more technical reasons. During the creation of the bold weight the engraved shadow line was sticking out too far horizontally on the bottom right of the serifs dramatically throwing the whole font off balance. The original font encountered this problem on the uppercase E, L and Z, their solution was a diagonal cut corner which was now needed across any glyph in the new bold weight with a serif on the bottom right side. In order to make the light and regular weights blend well with the bold weight diagonal cut offs were needed and added as well. This changed the look of the font from the original and why I decided to change the name, additional concerns were, if you're designing a period piece where the font needs to be authentic then this font would be too new. Regular vs. Alt version? The alternate version came about after seeing the regular version used as a logo and secondary text on a major product label. I felt that some of the features of the regular version didn't look good as smaller secondary text, this gave me the idea to create an alternate version that would work well for secondary text in an advertising layout. But don't stop there, the alternate version can be used as a logo too and feel free to exchange letters between both regular and alternate versions. Where are the original alternates from Algerian? Original alternates from Algerian are built into the regular versions of Tavern plus new alternates have been created. We're excited to introduce, for the first time, all new swash capitals for this classic font, you're going to love the way they look in your ad layout, sign or logo. The best way to access alternate letters in Tavern is with the glyph map in Adobe Illustrator and Adobe InDesign products, from Adobe Illustrator you can copy and paste into Photoshop as a smart object and take advantage of all the text layer style features Photoshop has to offer. There may be third party character maps available for accessing alternate glyphs but we can't advise you in that area. I know what you're thinking, will there be a Tavern Condensed? It takes a lot of hours to produce a large font family such as this, a future condensed version will depend on how popular this standard version is. If you love Tavern we're happy to introduce the first weathered edge version of this font called Bay Tavern available in February 2020.

Handy Andy Andy Lethbridge had only just completed his graphic design BA at the University of Portsmouth when he was spotted by Jason, who’d seen Andy’s exquisite hand lettering at his degree show and on Instagram. Keen to push the handwritten theme further, having recently launched a digitally-created, chalky script font (FS Sammy), Jason offered Andy a job and the chance to develop a suite of more stylised, truly hand-drawn fonts. Andy duly got out his pads, pencils and pens, and started experimenting with styles and textures. Magic followed. Imperfection perfected Most ‘handwritten’ typefaces are created entirely digitally. Not FS Shepton. From the start, the intention was to create a collection of alphabets of similar character but different texture and style – 100% hand-drawn and purposely imperfect, with the kind of inconsistent, organic shapes and textures of market stall signs, dashed off in chalk or paint. FS Shepton Regular, drawn with a wet brush pen, is solid with a rough outer edge and a casual but controlled feel. The dry brush used to create FS Shepton Light gives it more inner texture and a more formal, slanted, calligraphic style. FS Shepton Bold, drawn using a wider, looser dry brush pen, has a woody grain in the middle of its broad strokes and greater solidity where the brush moves more slowly. Fresh as a daisy Think of FS Shepton not as a family of three weights of the same font so much as a collection of three fonts penned by the same author. All of them – the light, regular and bold – were created independently as display fonts that offer something different to labelling, packaging, point-of-sale and advertising. Lovingly crafted by hand, they’re a good match for products and settings that share the same artisinal qualities: organic foods, drinks and healthcare products, as well as premium chocolate, coffee and condiments.

A sans serif with a dynamic look for complex typographic work. Rival Sans is a sans serif font family possessing many strengths. Its 32 fonts and 2 styles, make Rival Sans a very versatile family and suitable for many graphic design projects such as branding, signage, editorial creation, advertising, packaging, broadcasting or logo creation. With the endings cut at 10 degrees and sharp cuts on the top of the stems of certain characters (like the l, b or the d) Rival Sans gives dynamism and readability to the lengthiest of editorial content. This beveled font design also gives rhythm to a text's sentences as well as a very functional look. All these design details give this new font family a modern, energetic and humanistic look. Rival Sans also has many powerful OpenType features such as case sensitivite forms, small capitals, old style and tabular figures, slashed zero, ligatures, fractions,and alternative characters to give personality to graphic design projects. Designed also for complex editorial content, this typeface has a powerful home kerning system called "Pro Kerning". With more than 2500 pairs of glyphs and many languages, Pro Kerning optimizes headlines, subtitles, texts as well as long paragraphs in real time. In addition to these extended features, the italic styles of this fonts family have been drawn as fully-fledged styles with different designs from their regular version so that the italic texts look like calligraphic phrases. Rival Sans has an extended character set with over 930 glyphs. This family covers over 130 languages from Western Europe, Eastern Europe and Central Europe. In addition to all the features of its kind, Rival Sans is part of a very complete "type system" with style variants such as the serif version Rival Serif or the slab version Rival Slab. With all these typefaces, you have 62 styles to make your own vibrant and professional graphics or web creations while maintaining consistency in your creations.

Designed by Cosimo Lorenzo Pancini with Francesco Canovaro as a development and reinvention of Tarif by Andrea Tartarelli, Ambra Sans is a humanist sans typeface family, drawn around a lively, expressive skeleton but developed with a contemporary, post-digital sensibility that implies low contrast and tall x-height. In designing Ambra Sans, the authors wanted to research the elusive natural signature of handmade humanist letter shapes, in the effort of preserving it while still developing all the capabilities of type as a technical tool in the digital age. Like a frail insect preserved in amber, humanist design is the "ghost in the machine" of this font, that aims at seducing the viewers with its soft, welcoming text flow, firmly opposing the rigid, formal tone of most sans serif fonts. Born to provide a useful tool to graphic designers with branding and editorial needs, Ambra Sans develops around two subfamilies with slight but fundamental differences. The display family offers a taller x-height, optimizing readability and spacing in headings and display use, while offering a single story lowercase g to provide more consistent branding usage. The text family, on the other side, goes for a smaller x-height to give more traditional proportion to the text and removes the slight tapering in the stems to provide better rendering on screen in small formats. Both subfamilies of Ambra Sans develop around a wide range of seven weights with corresponding true italics, with Ambra Display sporting an extra heavy weight for maximum versatility. In total the family counts 30 fonts, each with over 600 glyphs for a wide language coverage. Open type features and glyph alternates further enrich the usage possibility of this typeface that wants to offer contemporary designer an alternative, unexpectedly human approach to contemporary sans type, softly preserving the spirit of handmade calligraphy while encasing its frail nature in a transparent, strong and powerful design language.

Moritza Script is a calligraphy script font that comes with a very beautiful character change, a kind of classic decorative copper script with a modern touch, designed with high detail, it took time since July 2019 - September 2020 to present an elegant style. Moritza Script is attractive as a typeface that is smooth, clean, feminine, sensual, glamorous, simple and very easy to read, because there are many fancy letter connections. I also offer a number of viable style alternatives for many letters. The classic style is perfect to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting / wedding cards, packaging, labels or any type of advertising purpose. Moritza Script including various language support. With OpenType features with alternative styles and elegant ligatures. The OpenType feature does not work automatically. I highly recommend using a program that supports OpenType features and Glyphs panels such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so you can see and access all Glyph variations. Moritza Script is encoded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use Font Book, and Windows users can use Character Map to view and copy one of the extra characters to paste into your favorite text editor / application. How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or have questions, please let me know. I'm happy to help. Thanks & Happy Designing! New Update • Moritza Script! Moritza has now been updated to include 3 styles; bold version, regular & italic version. This gives you the option to completely change your font style with the click of the mouse, whether you're looking for a smoother style, a bold version, or an italic finish. And don't forget the elegant touch of ornament.

ATTENTION CUSTOMERS :) There's a new Selfie available, have a look here; Selfie Neue is better done and more complete in every aspect. However, you can stay here if you still prefer the classic version. -But first, let me take a Selfie!- said that girl of the song and almost all of you at least once this year. While some terms and actions get trendy, some font styles do it too. It wouldn't be crazy to combine these worlds, in fact it happens often. Selfie is a connected sans serif based in vintage signage scripts seen in Galerías of Buenos Aires. These places are, in general, very small shopping centres which pedestrians sometimes use as shortcuts to get to other parts of the city. Their dark corridors take you back in time, and all of a sudden you are surrounded by cassettes, piercings, and old fashioned cloth. For some reason, all these shops use monolined geometric scripts. Surely, neon strings are easier to manipulate when letterforms have simple shapes. My very first aim with Selfie was to make a font that would serve as a company to those self-shot pictures that have become so popular nowadays. However, the font turned into something more interesting: I realised it had enough potential to stand-alone. Selfie proves that geometry itself can be really attractive. In this font, elegance is not achieved with the already-known contrast between thicks and thins of calligraphy, but with the purity of form. Its curves were based in perfectly shaped circles which made the font easy to be used at different angles (some posters show it at a 24.7º angle) without having problems/deformities. In addition to its nice performance when used over photographs, the font can be a good option for packaging and wedding invitations. TIPS Adding some lights/shadows between letters will for sure catch the eye of the viewer: Words will look as if they were made with tape/strings; so trendy nowadays. Try using Selfie at a 24.7º angle so that the slanted strokes become perfectly vertical. Having the decorative ligatures feature (dlig) activated is a good option to see letters dance. TECHNICAL It is absolutely recommended to use this font with the standard ligatures feature (liga) activated. It makes letters ligate perfectly and also improves the space between words.

Introducing Goldwyre, an extraordinary typeface meticulously crafted to captivate and inspire. With its seamless blend of elements from medieval to modern times, Goldwyre stands out as a truly unique font that embodies the essence of timelessness and elegance. Drawing inspiration from the intricate beauty of Gothic Blackletter and enriched with bold calligraphic strokes, this typeface exudes a mesmerizing charm that effortlessly bridges the gap between the past and the present. What sets Goldwyre apart from other typefaces is its ability to seamlessly combine medieval and modern aesthetics. By skillfully integrating the ornate and elaborate forms of Gothic Blackletter with contemporary design elements, Goldwyre offers a truly captivating typographic experience. This fusion of styles creates a font that is both classic and contemporary, making it an exceptional choice for projects that require a touch of sophistication and versatility. In addition to its captivating design, Goldwyre is available in two weights: regular and bold. The regular weight showcases the delicate intricacies of the typeface, while the bold weight accentuates its bold calligraphic strokes, adding a sense of strength and impact to any design. This versatility allows designers to explore a range of creative possibilities, whether it's designing eye-catching posters, compelling marketing materials, engaging titles, stylish T-shirt designs, or attention-grabbing headlines. Goldwyre is also a highly functional typeface, offering extensive multilingual support to cater to diverse audiences. It features a wide range of characters and diacritical marks, ensuring that it can effectively communicate in various languages and scripts. This broad language coverage expands the possibilities for global projects, making Goldwyre an excellent choice for international brands, publications, and design agencies. When conceptualizing Goldwyre, our design team aimed to create a typeface that harmoniously blends the grandeur of medieval typography with the sleekness of modern design. We wanted to pay homage to the rich history of typography while infusing it with a contemporary twist, resulting in a font that seamlessly integrates into both traditional and modern contexts. The deliberate fusion of styles and the meticulous attention to detail in Goldwyre's creation reflect our passion for typography and our commitment to delivering exceptional design solutions. Goldwyre was born out of a desire to provide designers and creatives with a captivating and stylish typographic solution that effortlessly merges the beauty of the past with the demands of the present. We believe that design is a powerful tool for self-expression, and with Goldwyre, we sought to empower designers to create visually striking and evocative designs that leave a lasting impression. Its timeless appeal and versatile nature make it the perfect choice for those who seek to elevate their projects and make a bold statement. Pairing Goldwyre with related families or other typefaces can further enhance its visual impact. It complements well with minimalist sans-serif fonts, such as Futura or Helvetica, providing a striking contrast between the intricate forms of Goldwyre and the clean lines of the sans-serif typefaces. This combination creates a harmonious balance, allowing designers to play with different aesthetics and create visually dynamic compositions. In conclusion, Goldwyre is more than just a typeface; it's a captivating journey through time. With its seamless blend of medieval and modern elements, extensive multilingual support, and versatile weights, Goldwyre empowers designers to create visually stunning designs across a wide range of applications. Whether you're designing posters, marketing materials, titles, T-shirt designs, or headlines, Goldwyre is the ultimate choice for those seeking to infuse their projects with a touch of timeless elegance and captivating beauty. Experience the magic of Goldwyre and unlock the true potential of your designs.

Iza and Paulo W (Intellecta Design) are proud to announce Bradstone-Parker script Script. A free interpretation of the golden age writing style from American classical penmanship. Inspired in Zaner and his contemporaries Bradstone-Parker has evocative (sometimes exaggerated) ligature forms and voluptuous forms. This enhanced OpenType version is a complete solution for producing documents and artworks with a evocative and voluptuous style of calligraphic script: - many stylistic alternates for each letter (upper- and lowercase), accessed with the glyph palette; - ornaments and tails (“rasgos”) in the typical style from the XIX to the first decades of the XX century writing style, all accessed with the glyph palette using the Ornaments feature; - an extensive set of ligatures (100s of contextual alternates ligatures) providing letterform variations that make your designs really special, resembling real handwriting on the page; - a tour-de-force kerning work: over 4600 kerning paris soft adjusted handly. In non-OpenType-savvy applications it works well as an unusual and beautiful script style font. Because of its high number of alternate letters and combinations (almost 700 glyphs), we suggest the use of the glyph palette to find ideal solutions to specific designs. The sample illustrations will give you an idea of the possibilities. You have full access to this amazing stuff using InDesign, Illustrator, QuarkXpress and similar software. However, we still recommend exploring what this font has to offer using the glyphs palette: principally to get all the power of the Contextual Alternates feature. You can get an idea of the power of this font looking at the “Bradstone-Parker Script Guide”, a pdf brochure in the Gallery section. Take a special look at the Bradstone-Parker Words (ready words). Bradstone-Parker Script has original letters designed by Iza W and overall creative direction plus core programming by Paulo W.

Lapis was Jim Rimmer's venture into a territory he'd earlier explored with his Lancelot and Fellowship faces. This time he stayed much longer, dug pretty deep, and had plenty of fun in there. The end result is the kind of mosaic of influences only a guy like Jim could consider, gather, manage and apply in a way that ultimately makes sense and works as a type family. On the surface Lapis seems like something that can be billed as what Jim would have called an "advertising text face". But under the hood, it's a whole other story. On top of the calligraphic, nib-driven base Jim usually employed in his faces, Lapis shows plenty of typographic traits from a variety of genres, from Egyptian to Latin, from blackletter angularity to Dutch-like curvature, with an overall tension even reminiscent of wood type. There are some Goudy-informed shapes that somehow fit comfortably within all this. Then it's all strung together with a mix of wedged, tapered and leaning serifs, placed with precision to reveal expert spontaneity and a great command of guiding the forms through counterspace. In the fall of 2013, the Lapis fonts were scrutinized and remastered into versatile performers for sizes large and small. The three weights and their italic counterparts have been refined and expanded across the board to include small caps, alternates, ligatures, ordinals, case-sensitive forms, six kinds of figures, automatic fractions, and a character set that covers an extended range of Latin languages. Each of the Lapis Pro fonts contains over 760 glyphs. For more details on the fonts' features, text and display specimens and print tests, consult the Lapis Pro PDF availabe in the Gallery section of this page. 20% of Lapis Pro's revenues will be donated to the Canada Type Scholarship Fund, supporting higher typography education in Canada.

A few bold caps drawn by Albert Du Bois for the 1906 Henderson Sign Painter book started me in the direction of looking at how sign painters approached slabs after the industrial revolution. The usual happened from there. My exercise in the early lettering roots of what eventually became the definition of geometric typography ended up having a life of its own. The majuscules led to minuscules, one idiosyncratic bold weight led to six more, and uprights led to italics. What was kind-of-interesting in the early twentieth century persuaded me to make it interesting enough a century later. This of course meant alternates, swashes, the standard baggage that keeps calling my name. Henderson Slab is a family of seven weights plus italics, all full of open features and extended Latin language support. Part of this family’s appeal is its coverage of nearly the entire of the slab serif through the last 100 years — the basis is the manual, humanist origins, the swashed forms come right out of the phototypesetting era, and the alternates and mostly modern constructs of contemporary ideas. The result is a set with the ability to function in modern spaces, from corporate to editorial, in text or display, while both winking and nodding at the roots of what is now considered a geometric endeavor. (Basic version do not include alternates, swashes, etc).

ION A is a part of the ION superfamily, which consists of 3 families: condensed (ION A), normal (ION B) and wide (ION C), each having a compelling range of 10 weights. Styles Thin to Black have 436 glyphs supporting more than 70 Latin-based languages and the three heaviest weights, named U1, U2 and U3 have 94 basic glyphs. ION glyphs are based on the classic 7-segment display, but for readability and aesthetic reasons, some alphabetic characters don't follow this matrix strictly. In case you like things in order, don't worry, there's a stylistic set that replaces all characters with their strict alternatives. The special characters, such as #, @ or % are composed of special segments, but are designed to fit seamlessly within the whole character set. ION was designed with the needs of contemporary graphic design in mind. There are alternative characters, discretionary ligatures, slashed zero, superior & inferior numbers, fractions, ordinals and three handy stylistic sets. The ten styles of ION A are accompanied with a special 11th style called Cells, allowing you to design a special underlying layer of black or outlined cells. This way you can create various containers and boxes for your text, highlight what's important or go wild and draw a space invader, using the cells as building blocks. Learn more about the OpenType features and Cells at www.urtd.net/ion.

While I was in Boston in 2014, I visited the Museum of Fine Arts and to my good fortune there was an exhibit of etchings by Rembrandt, one of my favorite artists. As to be expected, many were simply gorgeous, but one especially caught my eye. It was an etching of a priest (Jan Cornelis Sylvius, Preacher) with an extensive amount of writing in Latin. While I'm not certain that it was Rembrandt's own hand, the script was beautiful and I was fascinated by it because it had to be written on the etching plate in reverse. I snapped a few photos using my phone and later found other editions on line. I was so taken by the script that it begged me to create a modern typeface from it. The result is Saskya, named after Rembrandt's wife Saskia. There were many ligatures and glyph variants in the print, of which I captured many of them and made them accessible via OpenType features. The complete alphabet was not present in the sample, however, I discovered some other source material to sensitively fill in those gaps, with a remaining last few that I created myself. A truly romantic hand, Saskya will work well for invitations of many sorts, and when you're looking for that 'old thyme' scripty feeling in your graphics.

ION C is a part of the ION superfamily, which consists of 3 families: condensed (ION A), normal (ION B) and wide (ION C), each having a compelling range of 10 weights. Styles Thin to Black have 436 glyphs supporting more than 70 Latin-based languages and the three heaviest weights, named U1, U2 and U3 have 94 basic glyphs. ION glyphs are based on the classic 7-segment display, but for readability and aesthetic reasons, some alphabetic characters don't follow this matrix strictly. In case you like things in order, don't worry, there's a stylistic set that replaces all characters with their strict alternatives. The special characters, such as #, @ or % are composed of special segments, but are designed to fit seamlessly within the whole character set. ION was designed with the needs of contemporary graphic design in mind. There are alternative characters, discretionary ligatures, slashed zero, superior & inferior numbers, fractions, ordinals and three handy stylistic sets. The ten styles of ION C are accompanied with a special 11th style called Cells, allowing you to design a special underlying layer of black or outlined cells. This way you can create various containers and boxes for your text, highlight what's important or go wild and draw a space invader, using the cells as building blocks. Learn more about the OpenType features and Cells at www.urtd.net/ion.

ION B is a part of the ION superfamily, which consists of 3 families: condensed (ION A), normal (ION B) and wide (ION C), each having a compelling range of 10 weights. Styles Thin to Black have 436 glyphs supporting more than 70 Latin-based languages and the three heaviest weights, named U1, U2 and U3 have 94 basic glyphs. ION glyphs are based on the classic 7-segment display, but for readability and aesthetic reasons, some alphabetic characters don't follow this matrix strictly. In case you like things in order, don't worry, there’s a stylistic set that replaces all characters with their strict alternatives. The special characters, such as #, @ or % are composed of special segments, but are designed to fit seamlessly within the whole character set. ION was designed with the needs of contemporary graphic design in mind. There are alternative characters, discretionary ligatures, slashed zero, superior & inferior numbers, fractions, ordinals and three handy stylistic sets. The ten styles of ION B are accompanied with a special 11th style called Cells, allowing you to design a special underlying layer of black or outlined cells. This way you can create various containers and boxes for your text, highlight what’s important or go wild and draw a space invader, using the cells as building blocks. Learn more about the OpenType features and Cells at www.urtd.net/ion.

First introduced by the American Type Founders Company in 1906, Railroad Gothic was the quintessential typographic expression of turn-of-the-century industrial spirit—bold and brash in tone, and a little rough around the edges. A favorite for the plain speak of big headlines, Railroad Gothic quickly gained popularity among printers. Its condensed but robust forms were likely a source of inspiration for later families of industrial sans serifs. The design feels like a cleaned-up version of some earlier Victorian gothics, notable for their uneven proportions and awkward letterforms. ATF offered a number of sizes of Railroad Gothic as metal type, with cuts varying in design considerably from size to size. Creating this new digital version involved interpreting the characteristics of different sizes and making some aesthetic choices: where to retain the design’s familiar unstudied gawkiness, and where to make improvements. The new ATF® Railroad Gothic features a measured, harmonious interpretation of the original, and has been extended with four new weights (each bolder than the last). The heaviest weights are carefully designed to keep counters open, no matter how dense the overall effect may be, maintaining legibility at any display size. This contemporary rendition of a historic American design boasts a full Latin character set, including glyphs undreamed-of in the heyday of railroads.

Italiano Fushion is part of an expanding project on which we have been working for several years and is the colors ersion of ITALIANO FUSHION. Starts from the study of the great Futurist adventure of the early 1900s by great artists such as DEPERO and MARINETTI, who twisted the world of typography with shapes and colors. Italian Fushion is made up of almost 2,000 glyphs for each weight and in addition to hundreds of alternatives mainly, such as initials and endings of each word but also different alternatives for the letters I, J, Y. Thanks to the characteristics of Open Type, you can change them in automatic many of the alternatives, use it as a simple text font by changing only the I's and J's that have the typical capital dot, and giving the text a more fun breath to the composition. Italiano Fushion is suitable for large texts and to get the most out of it it is compulsory to transform the text into UPPERCASE text using the tabs of graphic applications such as Illustrator, or activate the Alternavive tabs and the various options of SS. You just need do a sandwitch between the 1 ( on the top ) and the 2 ( on the bottom ), choose the 2 different color and you hae finished. by transforming them into traces you can enrich the interaction between the two levels with nuances of pleasure. If you would like to be above layer 2, you can make the text parts transparent without swashes. Ideal for creating Logos, Head Lines, Web Titles, Posters, Epub Covers, Tatoo Projects, T-Shirts, Drink Labels ...

Guanabara is the third release of Plau Type Foundry. It started from the need of a wayfinding typeface that had personality enough to be the brand typeface for a city. The city of Rio de Janeiro, with its never-ending curves and all year long summer weather provided the constraints and requirements of this typeface. From there, it evolved to be a workhorse, with 8 weights from Thin to Black and matching true italics. It just had to have the features that all us designers have grown to love, such as alternate letters (a, g and r for the romans), tabular and proportional figures in lining and oldstyle set-ups as well as small caps, fractions and all that jazz (I mean, samba). And it needed to be recognizable and distinct. For that, design features like tapered R legs, capitals with classic proportions and calligraphic finishes on the terminals proved crucial. And last, but not least, like Rio, it had to welcome many cultures. We came to think of it as the “Typeface from Ipanema”, with a classic, timeless look, swinging elegance and joyful attitude.

Advertising Script is a brush script typeface inspired by a handmade sample drawn by the calligrapher Ross Frederic George and depicted in Speedball 1947 Textbook Manual. Advertising Script has a vintage brush script look, perfect for food packaging, display and logo design and period advertising. The original design has been completely reworked and extended by the Zetafonts Masterclass 2016 Team to provide three lighter weights, a rough and a monoline variant, and to produce an extended character set with open type support for ligatures, alternates, European languages and ending swashes. Advertising Script covers over 40 languages that use the Latin alphabet, with a full range of accents and diacritics. It comes in four weights plus a special monoline weight. Advertising Script makes full use of Open Type ligatures to provide swashes, alternates and a wide array of ligature characters for a more handmade, natural look. Swashes can be accessed through glyph palette or by typing one to six underscores after the letter. Take care: open type features are developed using open type technology, fully compatible with Adobe software and major design softwares and OS, but not supported by every software. Check before buying!